Birthday Bio

Clarissa_&Kids

Clarissa and her children, Ursala, Lily and Kahlil – July 2011

A couple of weeks ago, one of my apprentices asked me if I would write a bio of myself that explained when I began to do my art and why.  She said she had to choose someone who had influenced her life to become an artist; she choose me.  This was an assignment she needed to present at her art class.  My initial response was “Gee, I inspired her to become an artist?  But I don’t want to write about me, it is so boring to go back that far and talk about who, what where when and why…”  However, I gave her my word that I would do this for her that night.  So, I “set the stage” with low lighting and a cup of tea; I do this whenever I have to write about my personal life to help me focus with very little struggle – then with very little editing, the words just flowed from my head down through to the keyboard onto the computer screen.  Here’s what came…

19 January 2015

Sitting in the direct heat of the fake firelight of the electric Amish heater in my studio, always bundled in my sheepskin coat, sheepskin boots and hat because the heating device is not large enough to heat this one room where I work and sleep, I am never quite warm in Winter, though it’s better than being outside right now with 0 degree starlit snow. I reflect upon my life as an artist and wonder where it all started and if living the life of a full-time artist, especially now in a place without running water, without sewer, and without sufficient heat, was and continues to be, worth it.

No matter what age, for the past 59 years, I’ve always been a child of creativity, with a drive that is endless. I exist on 6 hours sleep a night; from the time my eyes are awakened by the early dawn until I suddenly stagger to my bed 18 hours later; like I am going-going-going, then gone! It’s only in the past couple of years that I realized that not everyone is like this; where have I been?

38 years ago today, my first child Kahlil was born, named after Kahlil Gibran who wrote many inspiring books including The Prophet, Spirits Rebellious, and my favorite The Broken Wings.  Spiritually-inclined at a very young age, anything written about Christ had to be read; any paintings, prints and photos of Jesus had to be studied, so natural it was to read all of Gibran’s works when I was a young adult. And even though in the western way of living having a child at 20 was considered young, it was natural for me to think it normal because our Tlingit culture had the wisdom to know children are a gift of God.

My parents guided me into the way they were conditioned to get a “real job” to secure a pension plan to retire in 40 years.  This worked for a little while.  From the age of 14 to 20 I had real jobs working as a librarian assistant, a home-health aid for the elderly, a clerk typist for the Governor and for the Bureau of Indian Affairs Division of Contracting, until of course Kahlil was born. Being a new mother was challenging; I was not a natural-born mother because I was such a tom-boy and it was next to impossible to stay indoors day in and day out while the baby napped, I had to keep up with the diaper changes and laundry, and he had to be nursed every 2 hours 24-7! Holy cow!

To keep my sanity I turned to gardening; it got me outdoors yet close to home! I turned to drawing, crocheting and sewing. While he took his naps, and directly after putting the entire household to bed each night, I’d stay awake ‘till at least midnight, creating; it was my therapy! During the raising of my three children, I made a living over the next decades in a variety of ways: besides designing and making Tlingit ceremonial regalia in button blanket, Chilkat and Ravenstail weavings, I was an entrepreneur before I knew what that meant.  I made hats, I sewed custom-made clothing, created costumes for local theatre companies, owned a landscape gardening company, and was co-owner of an online newspaper.  In the 70s and early 80s, I took up learning our traditional arts from some of the best artists of their time: carving, regalia-making, traditional song and dance, metal-smithing, basketry, Chilkat and Ravenstail weaving. Just before my children were grown up and gone I had created a name for myself as one of the few, if not the only, Tlingit women who has been a full-time artist working in all of the above mediums for nearly 40 years, all in the name of keeping my sanity and being a stay-at-home-self-employed-mother because I did what my mother recommended I do: stay home with my children.

In a few years I will be 65; do I see myself retiring soon? No way. I have no pension plan; I have no savings; and I surely do not have an inheritance.   I cannot afford to retire. And what would I retire to!? Would I retire to taking vacations? What for?…vacations are boring; I don’t want to relax – relaxing is a lot of work! Would I retire to volunteering at something?   I been there done that volunteering all my life with the house concerts I used to produce in my own home; with the children’s theatre I used to co-produce; with the art shows and classes I used to teach, just to name a few.   Would I retire to what most people retire to? Watching TV from the couch. What for? Is that really fun, is it productive, is it creative, does it do anyone any good? The only results I see from watching TV is weight gain—too much potato chips!

Would I retire to what some of us retire to? Art and music.

Hello? I am already there; I have been creating art and playing music all my adult life. Does this mean I’ve been retired all my life?   Hmmm…an interesting perspective.

It looks like I will continue doing what I have been doing for almost 40 years.  Why change now?  I’m in the groove.

My children now have families of their own. Each of my children and their spouses are self-employed artists. I have watched them struggle with making ends meet like the way their father and I made ends meet never knowing where our next paycheck would come from and if next month’s bills would get paid. I watch them live like I have, not afford brand new cars, not take any vacations, not have the latest styles of clothing, all the while living with tension about the ability to keep a roof over their heads, mouths fed, and clothing clean. However, there’s a sense of pride and awe that I feel when I see the fact that they stay at home with their children, making wholesome meals from scratch, tending to a flourishing garden, doing their “art” and their little kids “working” right alongside them: happy. These are values I did not realize were taught to them by my own example, someone who has passionate creativity, a drive that has always been driven, at the edge.

Kahlil is a professional film-maker/director who also teaches film a couple of days a week at the Institute of American Indian Arts; his wife Miki is a counselor at the Santa Fe Arts Academy; their 7-year-old Violet enjoys chess tournaments, sewing, ice-skating, gymnastics and basketball. Lily is an award-winning, professional storyteller/actress and also a Ravenstail/Chilkat weaver and teacher; her husband Ishmael is also a professional storyteller/actor, excellent writer who recently published his first book of poetry. They have four children who are being home-schooled. Ursala is an oil painter, block-print maker, graphic artist/web designer, and is president of a local Charter school she is starting; her husband Chris is a lead singer/songwriter in his band, a sculptor and a house painter.  Their two daughters are obviously following their footsteps!  My children and grandchildren live fully.

To my best of my ability, I live a life of integrity. I keep watch of what I do to see what I believe. My offspring and my work is love made visible. I follow my heart because my heart follows the source of creativity that inspires me and continues to drive me. I am old enough to look back upon my life and enjoy it a second time around. All my relations, my parents, my children and their children are proof of the legacy that I co-created and will leave. And when I leave, my conscious will be clear and free, knowing all that I loved and lived, was worth it.

Visit Booth #P-15 Alaska-Juneau Public Market

Grand-daughter Amelie hugs the hand-dyed, merino weft yarns hanging out to dry

Grand-daughter Amelie hugs the golden yellow, hand-dyed, merino weft yarns hanging out to dry — and of course the weft was dry when this photo was shot!

I invite you to visit my Booth ‪#‎P‬-15 at Alaska-Juneau Public Market booth during Thanksgiving weekend at Centennial Hall in Juneau, Alaska!  The booth is right across the isle from Tony Tengs “Chilkat Cones” in the main hall of Centennial Hall.  And please note:  I will be sharing the booth with Tlingit carving artist & silversmith, Israel and Sue Shotridge (www.shotridgestudios.com).

The following is an inventory of items for sale; they include (but are not limited to):

A limited supply of Chilkat weaving and spinning supplies:  Cedar bark without the sap (both whole and split), Chilkat warp, Chilkat weft yarns in golden yellow, turquoise, black and cream, spinning pads, etc.

Books for sale that I wrote, made or co-illustrated include:  “Chilkat Pattern Templates”, the “Chilkat Weavers’ Handbook”; Juneauite author Hannah Lindoff children’s book “Mary’s Wild Winter Feast” — and books that I highly recommend:  “The Intenders” by Tony Burroughs and “Go Pro – Becoming A Network Marketing Professional” by Eric Worre.

Miscellaneous items include:  my button blanket greeting cards, hand-caste paper feathers, limited edition Giclee prints, hand-sewn, beaded, felt Russian Sailor hats,  and gumboot shell earrings made by daughter Lily and sister Dee Lampe.

Come check out my latest 5-piece Chilkat woven ensemble called “Chilkat Child” which will be on display next to my daughter Lily’s 4-piece Ravenstail woven ensemble “Little Watchman.”

We’ll see you in a few weeks during the weekend of Thanksgiving at the Public Market in Juneau (Friday, Saturday and Sunday)!

 

4-Year Old Grand-daughter Spins Warp

SpinChilkatWarp

4-year-old Amelie Soleil Haas spins Chilkat warp on her thigh for the first time

For the past two days, Amelie has come into Grandma Rissy’s studio and has seen me splitting cedar bark, getting it all ready to begin spinning yards of warp for my next projects.  Amelie tried her hand at splitting bark last week, and to my surprise she was darn good adept at it.  Today, she surprised me even more when she asked if she could spin the warp, to which of course I said “sure, why not?” and I only had to show her one time and gave her all the pointers like I do my weaving students, and voile’ she was a natural !   She spun like she had been doing it all her life (only 4 years!).  I don’t know if I felt so much pride in my life…!  Then again, she IS my grand-daughter and I suppose that’s what Grandmas are supposed to feel like!

PreparedSplitBark

Clarissa is touching the large coil of cedar bark BEFORE it is split into the thin strips as shown

After I cook all the sap out of the cedar bark, I split the coils of cedar into very fine strips.  Each fine strip is then spun with the wool on our thighs to create the warp (the verticle-hanging yarns on the weaving loom).  It took me 26 hours to split about a pound of cedar bark; I did it in 2.5 days…(while watching a Netflix television series, of course!).  Watching a movie or television series, helps me to “getterdun!”

Additions To Our Lives

Clarissa’s four grandchildren, Bette, Louis Violet and Amelie – with another on its way due at end of July 2014

When we are young, we don’t think about the things middle-agedness and old-age may bring us.  We are thinking about getting through the day-by-day stuff and we may plan a little bit into the future maybe 5 years down the road.  The thoughts about preparing for being middle-aged and old-aged are the farthest things from our minds let alone taking action to prepare for it.  That’s like doing everything you can now to prepare for having the perfect experiences in having a baby and raising that kid!  uh-huh.  Live is an ever-changing, ever-learning experience as we grow up, plateau and then “grow-down.”  We learn as we go.

I thought that possibly I would have grandchildren but I really didn’t know what that would look like, nor did I know how I would feel once these kids came into being.  With the addition of these young souls in my life, I’m doing things right now to help provide me with the feeling that I have the time to truly be with my kids.  I say “feeling” because much of the time, when I am with them, I might be there in person, but because I am a full-time artist and the income I make is entirely from my art business, I’m always thinking of my work.  (And all of you who have been a full-time, self-employed artist know exactly what I am talking about—-we do not have the luxury of leaving the office and the rest of the night or weekend is free—-that’s because we ARE the office and we carry our business mind-set wherever we go!).

So for me to FEEL the freedom of truly hanging out with my grandchildren, I’ve got to know that every month my bills will be paid.  That is hard to do with sporadic income.  So I am making attempts to diversify my income.  Diversification doesn’t mean that I will quit doing art for income; it means that I am adding other ways to make income.

Like I said, I am making additions to my life so that I can feel the freedom of truly being with the greatest of all my additions:  my grandchildren!

Cooking Cedar Bark

I place up to 15 feet of a 5″ wide strip of yellow or red cedar in my 22-quart pressure cooker to cook all the sap out so I avoid sticky hands while spinning the thin strips with wool to create warp for Chilkat weaving.  Notice the tin foil “wind breaker” around the bottom edge of the pot – I learned this from my (all-too-temporary) assistant, Lis Saya

You don’t need to cook the sap out of cedar bark if you are going to weave baskets or hats, etc.  You will want to cook the sap out of the bark if you are spinning warp for your Chilkat weavings.

Set up your kitchen outside.  Use a propane two-burner hotplate.

First, oil the lid and entire inside of the pot.  (This prevents the sap from sticking heavily to your pot.)  Do not oil the gasket of the lid. (You want to avoid having the gasket slip out of place.)

Then fill pot with 3/4 amount of water, place your strip(s) of cedar in the water, cover and place weight in its position.  How much cedar do you place i this amount of water?  Use your discretion based on the size of pot and the size and amount of cedar strips – there is no hard and fast rule here.

After water begins to boil, turn heat down to a rolling simmer and let boil for at least an hour up to two hours at 10-pounds pressure.

Let out pressure; let cool down (I wait until overnight), then remove lid.

Take cedar strips out of pot and place on paper bags.

DO NOT POUR CEDAR BARK water down any internal drains (sinks, toilets, tubs, etc.).  Pour the sap outside in your driveway or in an area that you do not want anything to grow.

Let cedar completely dry out before placing in paper bag or cardboard box.  NEVER use plastic bags are containers unless of course, you know that cedar is completely thoroughly dry.  (Let’s avoid mold)..

Yellow Cedar vs. Red Cedar in Chilkat Warp

Yellow cedar (approximately) 1/8″ strips – the color darkens to the like of red cedar because the sap is cooked out of the cedar in order to spin with the wool

A new student of Chilkat asked me a very good question:  does it matter if we spin our Chilkat warp with yellow or red cedar bark strips?  Is there a significant difference?

Yes, it does matter if we use yellow or red.   However, the option is up to the weaver.  And sometimes a spinner/weaver does not have a choice because of availability.

Yellow cedar is more pliable and supple than red.  The yellow cedar and wool spin up smoothly for Chilkat warp.  Some of us will use the red IF we do not have yellow available.  The red does not split as evenly or smoothly as yellow.  Warp with red cedar is a bit more stiff than warp with yellow (of course too this depends on the wool/bark ratio).

Split cedar strands hang alongside prepared wool roving on an antique drying rack – ready for spinning Chilkat warp!

You will notice red cedar used in the old Chilkat robes.  These robes have a bit more “body” than those robes woven with yellow cedar warp.  Like I mentioned, the preference is up to the spinner/weaver, and the whether or not the spinner/weaver has a choice in the availability of red or yellow cedar.

 

Storing Cedar Strips

Bundles of yellow and red cedar

Hang cedar to dry THOROUGHLY.  Do not attempt to store until the bundles are completely dry.  Depending on your climate, time of year and moisture in the air, drying time may take a couple of days to a couple of weeks.  If you must place in a bag, use a paper bag at first.  Always store in paper bag and not in plastic bag.  You can use a plastic bag AFTER the cedar is completely dry!

Why am I stressing using the words THOROUGHLY and AFTER?

AVOID MOLD!

IF mold has set in to your cedar, check to see the depth of the mold.  IF the mold has completely invaded the cedar through and through, then I would not use it for anything!  IF the mold has only marred the surface of the cedar, then immediately soak the cedar bundles in vinegar water!  Add approximately 1 tablespoon of vinegar to 2 gallons of water, immerse the cedar completely weighted down by a heavy bowl, and let it sit for an entire day before rinsing with warm water several times.  Then let cedar bundles air dry THOROUGHLY!!!

If you’ve allowed your cedar to get moldy once, you will NOT ALLOW the next harvest of cedar to mold again!

Storing Regalia in Cedar Boxes

Stained cedar bentwood box carved and painted by Clarissa when she was 16 years old under the tutelage of Peter Bibb, the woodshop teacher at Juneau-Douglas High School. The box was a Mother’s Day gift for her mother, Irene.  After Irene retired, she began doing bead work; within a 15-year period, she had filled the box with beaded  floral and clan emblem pieces.  In celebration of her 50th wedding anniversary, Irene’s beaded pieces were applied to button robes, vests and octopus bags for her children and grandchildren. – A smaller cedar bentwood box sits to the right with a beaded “sailor hat” on top a glass head – Clarissa inherited both hat and box when her grandmother passed in 1976.

In the olden days, cedar bentwood boxes stored our clan regalia.  Cedar boxes are/were the perfect natural insecticide against moths who have appetites for the woolen regalia in the Chilkat, Ravenstail and Button blanket robes and accessories.   Nowadays, many of us use the Rubbermaid plastic tubs for storage, unless of course, you can afford your own work and grace one’s self with carved cedar boxes, or you trade with an artist friend to carve one for you!

When I carved the bentwood box, it was my very first introduction to Northwest Coast Art.  Peter Bibb encouraged a number of us Native students to take up our own art because there were very, very few people still carrying on the traditions.  He provided us Bill Holm’s “Looking at Northwest Coast Art” book, and if I am not mistaken, the design of this box comes from that particular book. ( I don’t know for sure because I eventually gave that book to my son after my mother passed so I don’t have it on hand to confirm design origin.)  Peter kept close watch on my carving; at one time he grinned “…young lady, it looks like you’ve got a natural skill at this…(he chuckled)…who woulda known a little thing like you could do this!?”

When I carved this box for my Mamma, I did not imagine 40 years later I would have it sitting on one of my work tables; it stores woolen yarns as I have begun to learn how to knit.

The Adarka Festival

Alaskan Tlingit carver Wayne Price (red shirt) leads the carving of a red cedar totem pole to commemorate the survivors of the missionary schools in Yukon Territory

I video taped various performances including the DahkaKwaan Danders, the canoe ceremony, and an interview with Wayne Price and the totem pole, however, for some reason just my still photos transferred but none of my videos would transfer to my computer.  Alas, I was terribly disappointed.  But, I have a few photo images here to console me; at least I have these!

The Kwanlin Dun Cultural Center entrance, Whitehorse, Yukon Territory

Out back of the cultural center, a wooden platform graces the banks of the mighty headwaters of the Yukon River

Directly behind the cultural center there's a large firepit circled by concrete seating stepping down to the wooden platform on the Yukon

 

Chilkat & Ravenstail weaver, Ann Smith stands in front of the painting created by her youngest son, Justin Smith

Ravenstail & Chilkat weaver Charlene Baker demonstrates Chilkat on her portable loom

Approximately 40 artists mainly from Yukon Territory displayed and demonstrated their work during the Artist Market

Tents were erected just in case of rain - there were food booths, demonstrating artists, workshops, etc.

Men in Cool Hats: Copper smith Brian Smith and silversmith/silkscreen artist Alano Edzerza

Artists taking a break - L to R: Brien Smith, William Callahan, Sean Smith, Dustin Johnson, Alano Edzerza, Crystal Rogers, Ann Smith and her grandson, Tyrone

Ann and Brien Smith stand next to their artwork displayed in the cultural center's new gallery space

Cherri & Wayne Price and Ann & Brien Smith stand before an historical display "back to the river" which was the theme of this year's Adarka Festival - the display shows Ann's "Grandmother's Time" Ravenstail robe, her mother drying fish, and her son Justin in the newly-carved red cedar canoe

The New Taku Dancers from Atlin, British Columbia

Button robes of the New Taku Dancers

Wolf Clan member and Chilkat/Ravenstail weaver Debra Carlick - she adorns the carved wolf hat created by her husband Wayne Carlick

Leader of the New Taku Dancers Wayne Carlick is adorned by a Chilkat headdress woven by his wife Debra Michel Carlick

With all the money our Native corporations have generated since 1971 (over 40 years), I am reminded that Juneau does not have a cultural center.  Sure we have the ANB Hall, sure we have the Sealaska, Goldbelt, and Huna Totem corporate offices, sure we have the T&HCC offices, sure we have the T&HCC community center at Salmon Creek, however none of these come close to the cultural center organized by a grassroots group of local indigenous peoples in the Whitehorse area, whom 20 years later have a place that is specifically theirs on the homeland’s river bank.

Goes to show you that money does not necessarily do all the talking…takes a group of those who walk their talk, that are earnest, diligent, committed individuals with a strong vision to address and create a modern place to educate and perpetuate the modern culture of the indigenous people – it allows the rest of the world that we still exist and are alive and well!

Leaving Rainy Juneau for Sunnier Skies

Dorsal fin of a Killerwhale during the sail from Juneau to Haines, Alaska

Crystal invited me to come with her to Whitehorse, Yukon Territory to meet up with a friend of hers.  I knew about the grand opening of the new Cultural Center in Whitehorse, so I took her up on her offer.  I had four days to prepare for the trip with lots of deadlines to meet before leaving – it was good incentive to get the stuff done to take a much needed “working vacation” from Juneau’s consistent rainy weather of 45 degrees!

Bow of the MV Matanuska

I anticipated good weather as soon as we would come into Haines’ territory, about three hours north of Juneau.  Sure enough, I could see blue skies up ahead!

Crystal Rogers weaves Ravenstail in the cafeteria of the MV Matanuska

Like many Chilkat and Ravenstail weavers of the past 30 years, Crystal Rogers packed up her loom to weave aboard the ferry.  Four hours to Haines is ample time to weave a couple of inches!

deck of the MV Matanuska as we pass the lighthouse in Upper Lynn Canal

Pouring rain in Juneau, even just an hour out of Juneau the weather improves!  Cloudy but not raining!  whooohooo!

Crystal enjoys the cedar bark weaving talents of Heather Callahan's cape

Yukon artist Heather Callahan is a regalia-maker who was on board completing her woven cedar bark cape embellished with dentallium shells, abalone buttons, leather and Hawaiian grasses woven in as well! — you just never know who will be traveling with you on board the Alaskan ferries!

Heather models her cape trimmed with beaver fur

Davidson Glacier in the Chilkat Mountain Range

"Shanks and Rizal" (alias)peaks of the Chilkat Mountain Range

Approaching Haines, Alaska - see the tourship docked in front of Ft. Seward?

Always blue skies in Haines' wake

Crystal catches wild water

Mouth of the Chilkat Valley River

View of the Chilkat River and mountains from a house I would love to buy, or at least rent!

Driivng the highway from Haines, Alaska to Whitehorse, Yukon Territory

Brown Bear on the side of the highway

Black bear on side of highway just a half hour from the brown bear we first saw